work..etc).
Jacob Kirkegaard: It usually starts
when I hear or read about a special
sound phenomenon. Like for example
the “Singing Sands”. It sounded so
mysterious that I immediately began
fantasizing about how it would sound
like. Then I decided to go find the
sound. When I was then in the desert I
discovered that the sound was
different from what I had imagined
but nevertheless very interesting.
Being there shaped the more
concrete idea of how to create the
work = what do to with the sound. To
my surprise I also discovered the
visual aspects of it and decided to
return with a video camera. So it is
kind of a back & forth; I get inspired to
investigate something which then in
return challenges me.

Silvia Bertolotti: At a more general
level, what is the relationship
between sound and music? And
starting from that, how is your
creative process developed?
Jacob Kirkegaard: There is no such
thing as just sound. I think that sound
is something objective whereas music
is a subjective feeling. So any sound
can be music. It depends on the way
we are able to interpret the sounds
around us. So for me my explorations
start when I feel that there is a
potential link between a story or a
concept and a sound that is
interesting to me.

Silvia Bertolotti: How did you choose
the works that you will present at the
Sonic Acts Festival in Amsterdam? Is
there a connection
Sabulation
Labyrinthitis
between
and
?
Jacob Kirkegaard: Those two works
are just my most recent larger works.

Silvia Bertolotti: I just wanted to know
which is basically your creative
proccess. I mean, you start from the
souns in itself and the how do you
“interpret” it? Which are you creative
phases (listening, recording, editing,
do you have a main concept at the
beginning or it develops with the

Sabulation was shown for the first
time last month at Club Transmediale
in Berlin so it is still a very fresh work.
And the curators of Sonic Acts
insisted on including Labyrinthitis as
well and I’m very delighted to show
both works.